•  fotograf: Sarah Griggs

    From Fashion to Interiors: Designer Alice Crawley on Her Global Inspirations and New Collaboration with Layered

    Written by Ulrika Lindqvist

    In this interview, we dive into the world of Alice Crawley, an interior designer with a rich background in fashion and a distinct global perspective. Alice’s journey has taken her from London’s Central Saint Martins to Hong Kong, Saigon, and now Notting Hill, where she runs her design studio. With over a decade of experience and a personal style deeply influenced by her time in Asia, Alice has recently partnered with the Swedish brand Layered to launch an exclusive collection. Here, she opens up about her path to interior design, her creative process, and the inspirations behind her unique collaboration with Layered.

    Ulrika Lindqvist: Hi Alice, can you share how long you’ve been working as an interior designer and what inspired you to start your career in this field?

    Alice Crawley: My background originally started in fashion design, where I worked for more than 10 years after studying at Central Saint Martins. For 6 out of those 10 years I ran my own label called Wondaland, and then decided to move over to interiors after having my second child whilst we were living in Hong Kong. I had been informally helping people with their homes for a year or so, and in 2017 decided to make it official. I have never looked back!

    Interiors have always been a real passion of mine, and growing up as the daughter to an interior designer (mother) it was an easy transition for me…It honestly doesn’t feel like “work” and in that sense I feel incredibly lucky to be doing what I do. I think it’s a luxury to feel totally at home in your career, especially when it takes you away from your home and your kids.

    I now have a design studio in Notting Hill with a wonderful team (we are 4 in total). It's been a journey to get here and I am very grateful to my clients and friends for placing their trust in me.

    UL: Have there been any particular projects or events in your career that stand out as especially memorable?

    AC: I remember having a real pinch-me moment with one of the biggest houses I decorated during my early years working in Hong Kong. The house was on the top of The Peak overlooking the harbour, surrounded by ancient trees and lush vegetation, a beautiful old colonial house that was home to the “Tai Pan” (or CEO) of one of the oldest British companies out there. I was asked to decorate the house from top to bottom, since this family had brought nothing with them from London, and it was lovely to have total creative freedom with one of the most beautiful and well-known houses in Hong Kong. The clients were such fun to work with, and very trusting. This was definitely one of those projects that puts you on the map.

    More recently I have had the opportunity to work on some very special projects in my own neighbourhood of Notting Hill, and a particular one recently that felt truly exciting for my team and I to work on was this lovely family house on a communal garden. Almost all of the furniture we sourced for this house was antique or bespoke made, they didn’t want anything new or off-the-shelf which was a fun challenge for my team and I. For us, it was like looking for treasure, finding these incredible pieces and designing some very special items too that really made the whole house feel so exceptional and unique.

    UL: Can you walk us through your creative process? Do you have any specific routines or practices that help spark your creativity?

    AC: My creative process always begins with understanding the clients’ needs and preferences - what they are looking for from their home. Ultimately most clients come to you for your taste, but you want to make them feel like it’s them in the driving seat.

    We often ask them to fill in a lengthy questionnaire which covers the relevant, and the seemingly irrelevant! Once we have nailed down the brief and are clear on what interior and architectural style we are going for, we usually provide a couple of different schemes for each space as a starting point and then develop these according to client feedback, adding more detail from there until we reach the happy place where everyone feels excited about the designs, and then it’s time to start executing! There are constant check-ins, and sometimes compromises to be made, during the next “main phase” of the renovation where the designs then start coming to life. One of the most rewarding parts of the process is after you’ve moved the clients into their home, and (if they allow it) we style it all up perfectly for the photoshoot which marks the finish line - where everything is looking exquisite, and more importantly, complete!

    UL: What does a typical day look like for you as an interior designer?

    AC: There isn’t really a typical day per say as I think we are generally on the move quite a lot, whether it’s sourcing or on site meetings but on quieter days I would say that a typical day starts at our studio in Notting Hill with a team meeting and then each of us splinters off into whatever area we are working on that day. We are constantly heading to the Design Centre or Pimlico Road to source furniture, fabrics and antiques and then diving off to see particular pieces or a quick antique fair of which there are many here in the UK.

    UL: How did your partnership with Layered come about, and what has that collaboration been like?

    AC: I was approached by Layered this time last year to discuss collaborating on a collection of rugs, which was a great honour as I’m a big fan of this super cool Swedish brand. It’s not the first time I’ve been asked to do a collab of this kind, I guess I’ve been waiting to find the right partner to work with and feel I have found this in Layered.

    UL:  You frequently work with bamboo. What is it about this material that draws you back to it for your designs?

    AC: On the one hand I have a nostalgic feeling about bamboo and faux bamboo furniture having grown up a lot around this kind of furniture, and then later on in life whilst living in Asia where bamboo is literally used to make everything - they even use it as scaffolding to build skyscrapers..!

    UL: Your collection for Layered is inspired by your experiences in Asia. Could you share more about that time in your life? What led you there, and what lessons or inspirations did you bring back with you?

    AC: I moved out to Asia when I was 21 years old, and spent a very happy, crazy life out there for the next 14 years. Hong Kong has a fast pace of life - its work hard / play hard - which suited me perfectly in my twenties..! I especially enjoyed the 4 years I spent living in Saigon, Vietnam - this is where I felt the real magic of living in such a different place to where I was from. I used to ride between my home and studio on a bamboo bicycle..! A lot of the friends I made during this time were furniture designers and that’s when I really started drawing inspiration from the design and style of interiors and furniture out there.

    UL: Looking ahead, what’s next for you? Are there any specific projects or goals you’re particularly excited about?

    AC: Our style of work is very much year by year / project based and it’s always about what’s next! We have a couple of really exciting new projects we are working on right now, and whilst covering those I am also broadening my furniture collection to offer some interesting new in-house products. Longer term, I would like to keep growing the product side of the business, work on a couple of beautiful private residential projects a year as well as some interesting commercial projects too. And somehow keep the work-life balance with 4 kids at home..!

  • photography Sandra Myhrberg

    Lie Fallow an exhibition by Dimen Hama Abdulla

    Written by Sandra Myhrberg

    Dimen Hama Abdulla, a multifaceted artist whose work spans playwriting, dramaturgy, painting, and sculpture. Born in Kurdistan in 1984, she arrived in Sweden at the age of six, carrying the weight of migration and the responsibility to tell her story. Her debut monologue, On All Fours, received critical acclaim, marking the beginning of a prolific career in theater.

    Yet, behind the scenes, Dimen’s visual art remained a deeply personal practice—until now. With her latest exhibition, Resting Fallow, she invites us into a world where words and images intertwine, exploring themes of survival, restoration, and creative renewal. In this conversation, we delve into her artistic journey, the symbolism behind her latest works, and the dialogue between her visual and literary expressions.

    What inspired the title Lie Fallow for your exhibition?
    “Lie fallow” is a concept in farming related to letting the soil rest and allowing hidden “things” to process. Lie fallow, besides being a very beautiful and poetic phrase, carries the meaning of being in fruitful solitude.

    How does the concept of “Fallow” connect to your personal and artistic journey?
    To Lie Fallow is a cyclic process of dying, being, and blossoming. For me, it’s a story of becoming.

    Your works often merge the abstract with the figurative. How do you navigate these two realms in your art?
    It’s a process about being responsive to the intuitive and the intentional. The “navigating” is a practice of listening to what is happening in the work.

    How has your relationship with visual art evolved over the years?
    I’ve always had a relationship with visual art, since the first time I saw my first cartoon. Then I started to draw—as every child does—but I continued and never stopped.

    What role do materials play in your creative process?
    A significant one; for me, a painting is a sensory practice. The materiality is part of the joy and pleasure— the fabric of the paper, the pigments of the color, the density and softness of pastels.

    Your work often reflects themes of survival and migration. How do these experiences influence your visual art?
    I wouldn’t say that my work often has themes of survival and migration; rather, these are part of my history and what has formed me. I don’t want to set a theme on my work. I think language sometimes pins art, and even if it’s alluring to define it through language, I don’t want that. For me, it’s more that “things” are encapsulated in the pictures, but the paintings themselves aren’t meant to be read as a theme of migration and survival.

    You’ve worked across multiple artistic disciplines—writing, dramaturgy, and visual art. How do these practices complement each other?
    One is the discipline of the hand, one of the heart, and one of the head.

    What’s next for you after Lie Fallow? Are there any new projects or collaborations in the works?
    I am very happy to be the external examiner for the artist Jaana-Kristin Alakoski in two weeks. I am working on a theater play for Stockholm Stadsteater, and I am teaching at Biskops-Arnö. I want to put some love and focus into these and create peace and space to return to painting.

    Dimen Hama Abdulla / Saskia Neuman Gallery
    Lie Fallow
    On view 07.11—19.12.2024

  • Orchestrated Characters: Raghav Babbar’s Solo Exhibition at Larsen Warner Gallery

    Written by Natalia Muntean

    Stockholm’s Larsen Warner Gallery presents Orchestrated Characters, a solo exhibition by British Indian painter Raghav Babbar, an emerging talent in contemporary art. Babbar’s work captures ordinary people and everyday moments with a depth that invites the viewer to pause and reflect.

    “He works on several paintings at the same time,” explains Darren Warner, curator of the show and director of Larsen Warner Gallery. “This is partly due to the heavy layers and detailed strokes that require drying time, but also because he needs time to reflect on his subjects, capturing their emotional depth and intricacies.”

    Drawing inspiration from films, personal photographs, and memories, Babbar’s paintings explore common yet often overlooked moments in life, while conveying emotion through rich, textured layers of oil paint. With a technique reminiscent of Lucian Freud, Babbar uses thick layers to capture expressions, creating intimate portraits that draw viewers into each character’s psychology.

    Orchestrated Characters represents Babbar’s first solo show in Stockholm and is notable for including his works on paper, with six displayed publicly for the first time. These pieces reveal his process and approach to building his paintings, as each figure gradually emerges from washes of oil paint and turpentine. Usually a private part of his process, these paper works allow him to explore ideas before he transfers them to canvas.

    Each painting in the exhibition reflects both Babbar’s Indian heritage and his life in London, where he now resides. Through this body of work, he tells stories of Indian spirituality, legends, and the scenery of North India where he grew up, bridging cultural elements from India and the West through his impeccable technique.

    Warner notes that Babbar enjoys creating portraits and self-portraits, a passion evident in this exhibition. Using light, shadow, and meticulous brushwork, Babbar conveys the essence of his subjects with sensitivity and empathy.

    Orchestrated Characters is on display at Larsen Warner Gallery until the 15th of December.

    Photos courtesy of Larsen Warner Gallery, portrait by Dan Weill, courtesy of Nahmad Projects

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